Patrick Maynard

First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet Kappa Society Key Reporter (Summer 2006): 14 http://www.pbk.org/documents/tkrpdf/TKRSummer2006.pdf. General--Amy Ione, Leonardo On-line Reviews: http://www.leonardo.info/reviews/jan2007/draw_ione.html

For philosophical readers, a review of biology Nobel laureate Eric R. Kandel’s Age of Insight historical thesis, that today’s ‘neuroaesthetics’ is a continuation of Vienna’s great contributions to modernism from 1900 on, becomes a ‘critical study’, by closely examining Kandel’s valuable account of E.H. Gombrich’s psychology, then, broadly, his own case for the validity of ‘neuroaesthetics’. The article much credits Kandel for recognising and explaining—unlike most philosophers, with their epistemological and metaphysical perspectives—why Gombrich’s Art and Illusion is subtitled ‘Psychology’, since it is about what its author termed throughout ‘convincing’ depiction. But, while holding that Kandel’s case for ‘neuroaesthetics’ is, at least in tone, superior to Ramachandran’s, the study broadens still further into a critical examination of it, with at first standard—since Aristotle—arguments against reductivism, as a materialism that neglects first formal then final causes or purposes. Original to the critique is an additional argument, that so-called ‘neuroaesthetics’ is not only inconsistent with the ‘reductionist’—not reductivist—principles of Kandel’s own science, as explained in his earlier account of them, In Search of Memory, but also contradicts a basic Darwinian principle underlying all modern biology, that genuine novelty can arise from rearrangement of older materials. The conclusion is that although neuroscience may make important contributions to aesthetics and appreciation, there is as yet no basis for holding that it could produce an aesthetics.

“Public” is here treated by its three extensions: most broadly, from the merely extrasomatic, where users of representations are initially distinguished from makers, through ‘published’ or for the general public, to the governmental, official—where the discussion begins, before turning in its second half to the more common, middle meaning. What is public in these ways, “spatial representation”, also has the different meanings of representation of space or representation by spatial means, and there are several kinds of space to be considered. The styles of the two halves contrast, that of the first being an inductive mapping of neglected conceptual terrain of directive representations, that of the second linear: a continuous argument in answer to a question regarding descriptive spatial representation in the digital age. The common thread is the public as users of all such cognitive artifacts, and this use as interactive, with a range of implications for social collectivity

'Photo-credit: David Hume': a dialogue showing how application of Hume's three vivacity principles of resemblance, contiguity and causation--even his illustrations of them--not only immediately clarify the main sources of interest in photography, but locate photography in the broad and fascinating history of various functions that images serve us, thereby dispelling ongoing mystification about it. (In the dialogue, Veronica represents our contiguity and causal interests, Miranda [named for a Japanese camera company] our depictive ('resemblance') interests, while Clara serves as philosophical moderator.)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 1-26 [Access article in PDF] "What Will Surprise You Most": Self-Regulating Systems and Problems of Correct Use in Plato's Republic Patrick Maynard University of Western Ontario 1. Republic's Third Wave: "On Philosophers" The title of this paper is taken from a line in Book VI of Plato's Republic that appears to reject not only the accounts of moral justice and other virtues argued in Book IV, but also an axiom of Plato's earlier dialogues: that the virtues are good and beneficial things. It reads: "What will surprise you most, when you hear it, is that each of the things we praised in that nature tends to corrupt the soul that has it and to drag it away from philosophy. I mean courage, moderation, and the other things we mentioned" (491b7-10). Although these other things specifically include justice, magnanimity, grace, love of truth, and a tendency to consider "the form [idea] of each thing that is" (486d10), for their part, commentators have never shown surprise at this passage; indeed they have tended either to neglect or minimize it.1 To recall the context of 491b7-10, it actually comes as a second surprise, hard on the heels of a remarkable admission by Socrates, in early Book VI. The admission came in response to Adeimantus' challenge to Socrates' attempt to show that 'Platonic' philosophers, in the famous Book V sense of those who believe in the [End Page 1] forms, will be just and virtuous people, capable of political leadership (484d8-487a5). Book VI's page 487 thus contains Adeimantus' blistering attack on Socratic method, and a counter-argument against the idea of philosopher-rulers, based on common opinions about philosophers—an argument that should give pause to those who say that Republic left elenctic method behind with Book I. It is Socrates who now faces a forceful elenchus: that is, an inconsistency between the philosopher-rulers position he has just argued and another view he himself accepts, for his reply to Adeimantus is that "they seem to speak the truth" (487d10, 489d5), and "what he says is true, that the best among the philosophers are useless to the majority" (489b2), but that "the greatest and more serious slander on philosophy... results from those who profess to follow the philosophic way of life," especially the "vicious" ones (489cd).Most commentators, teachers, readers, eager to join the account of forms at the end of Book V with that of the form of the good well into Book VI, bridge over this discussion of philosophers' reputations, perhaps noting such of its features as the true pilot, the tinker, the figure in the dust storm, etc., but with little attention to argument structure.2 However, low estimate of structure in Plato's writings is usually a mistake, especially with Republic, and some commentators do make space to shape this bit of text, before getting on to what really interests them. They usually bracket the whole philosophers' reputations discussion, including 491b, as an early part of the so-called "third and greatest wave" (472a, 473c) of objections and replies, regarding the feasibility of the earlier social proposals of Republic: specifically, the objection to the possibility of philosopher-rulers. Socrates' reply to the third wave is usually taken to conclude with the transition at 502c7-503d12, which begins: "now that this difficulty has been disposed of, we must deal with what remains"—that is, with how such rulers could come about, and how they would be educated, a transitional remark that makes the gateway to the scholars' great attractor of the form of the good, with its discussions of the sun, the divided line, the cave of shadows—and few readers ever look back. Thus one recent commentator who does discuss the early part of Book VI moves on to those topics as follows: "Now that the combination of traits required in a philosopher-king has been shown to be a natural possibility...

Philosophy's only celebration of photography's 150th, the long-neglected philosophical job of clarification: drawing basic distinctions and defining basic conceptions, including photographic depiction, photographic detection, 'photograph of', 'documentary'. More than a lexicon, it explains why photography is important, by historically characterizing it through its uses for depiction, detection, reproduction, all of which have shaped the modern world. By consideration of it as 'mechanical', the paper explains photography's differences from practices with which it shares these functions. Happy birthday, photography.